- Oct 22, 2006
- 142
- 0
- 16
Melechesh - Emissaries
Osmose Productions – 4260037847610 - 2006
By Dan Fisher
Sumerian spells? Mesopotamian mysticism? Near Eastern occult and a Kabalistic track? It could only be one band. Melechesh’s latest release has arrived at a time when Jerusalem, the birthplace of the band, is tainted with the sadness of conflict. The association with this ancient city, and it’s five thousand years of upheaval, has a tremendous impact on the group’s sound: guttural howls offer up scathing proclamations while scimitar-like guitars slice through the brilliant technicality of the drumming. Then there is the use of ethno-specific instruments such as the Buzuk (a wooden, two stringed, near eastern instrument), Mediterranean percussion and group chanting. The result is an innovative work of some intricacy that I have decided to dissect track by track.
’Rebirth of the Nemesis’
We open with an extended introduction, each part segueing effortlessly into the next. This how a song should be structured. After an atmospheric build up, Melechesh’s trademark syncopated shuffle rhythm kicks in along with Ashmedi’s tortured vocals. Now I’m not usually a fan of this type of vocal delivery but I must admit that it captures the feel of the album very well in this case. The mid section has a great riff that reminds me, both in production and song writing, of Mastodon’s last two albums. The song then slows down and we get to hear Ashmedi’s brilliant vocals build to a deafening crescendo. Cue blast beats as we are brought down into some chanting before going back into the original riff. A slightly strange choice of opener given its medium pace, but utterly riveting none the less.
’Ladders to Sumeria’
'Ladders' has the honour of owning, in every sense of the word, the best riff on the album. Full of the deathly promise and heavier than heaven, this hooks you in and doesn’t let you go. Although the structure is relatively simple, the humming bird drumming and catchy lyrics make sure this track will be a contender for ‘track most likely to fill metal dance floors’ up and down the underworld.
’Deluge of Delusional Dreams’
Frenetic riffing collides with some punk-inspired drumming as this song explodes into life. What is so great about this band is how effortlessly they change gears into something completely different like chanting or blast beats. The mid section again uses the trademark shuffle before stopping dead. We are then thrust back in with harmonic minor scale inspired slab of guitar which slows down into a tribal death groove.
’Touching The Spheres Of Sepheroth’
’Touching’ will be remembered for its drumming which is intense, providing a pure shot of adrenaline. Xul’s pulverising stick work saves some of the tracks from being a little bit samey and ’Touching’ leans in this direction. There is nothing particularly wrong with it but as far as the other elements are concerned there is nothing new in this song. However, I think there is enough for the audience to remain interested.
’Gyroscope’
One of the things I noticed on this song is the lack of bite in the rhythm guitars. As a result, the song lacks the punch it could have had which is a shame. The song sort of fits the overall theme but it sounds like the musical equivalent of a make-over. I don’t think this cover adds anything to the album and should have been omitted.
’Double Helixed Sceptre’
There are some interesting time changes here that jar the ear on the first listen but persevere and you will be pleasantly surprised. My favourite part of this song has to be after the introduction where there are slow, low, tom beats over which Ashmedi chants. The ‘less is more’ approach shows a maturity in their song writing as the band know that the contrast in textures is enough to keep the audience interested. Not underestimating your audience is essential in modern extreme metal.
’The Scribes Of Kur’
A beautiful, menacing, controlled build up is the key to this song. ’Scribes’ lays bare some of the near eastern influences of the band through the unusual instrumentation and harmonic minor scale referencing. It also serves as a well timed lull to the heaviness, in the same way that Nile lace the albums with lighter interludes.
’Leper Jerusalem’
Wow, this is unexpected. An intro riff that sounds part-grunge, part modern, punk-influenced Darkthrone. All is restored later though as we move back into the familiar territory of the Melechesh shuffle. I really like this track, perhaps because it contrasts with the others as a short and punchy statement.
’Sand Grain Universe’
I thought this was going to be a lot more languid given the cosmic title. I was wrong. It has some of the most ferocious drumming on the album. Structurally though, the first four minutes of the song are boring but it does redeem itself by delivering an excellent vocal performance near the end.
'Emissaries And The Mysterium Magnum'
The last listed track is a melting pot that seems to build to a boiling point by adding a dash of time change here, a pinch of vocals there. A key change heralds something different and we are treated to some deliciously dark choral harmonies, foregrounded by Ashmedi’s feral grunt. Soaring guitars see us out, as if shutting some great tome. One is left hoping that that there will be a sequel as thrilling as this, and soon.
If was going to be pedantic I would say that some parts are repetitive and the vocals are a little too low in the mix for my liking. However, these comments are neither here not there, given the wealth of positives taken from this effort.
’Emissaries’ is not as complex as, say, an Opeth record. But what is evident here is the originality that bursts from the seems. Melechesh have done the impossible and reverse engineered their cultural history to perform alchemy on an album that is both cutting edge and memorable.
8.5/10
UM’s Review Rating Scale
Official Melechesh Website
Official Osmose Productions Website
Osmose Productions – 4260037847610 - 2006
By Dan Fisher
Sumerian spells? Mesopotamian mysticism? Near Eastern occult and a Kabalistic track? It could only be one band. Melechesh’s latest release has arrived at a time when Jerusalem, the birthplace of the band, is tainted with the sadness of conflict. The association with this ancient city, and it’s five thousand years of upheaval, has a tremendous impact on the group’s sound: guttural howls offer up scathing proclamations while scimitar-like guitars slice through the brilliant technicality of the drumming. Then there is the use of ethno-specific instruments such as the Buzuk (a wooden, two stringed, near eastern instrument), Mediterranean percussion and group chanting. The result is an innovative work of some intricacy that I have decided to dissect track by track.
’Rebirth of the Nemesis’
We open with an extended introduction, each part segueing effortlessly into the next. This how a song should be structured. After an atmospheric build up, Melechesh’s trademark syncopated shuffle rhythm kicks in along with Ashmedi’s tortured vocals. Now I’m not usually a fan of this type of vocal delivery but I must admit that it captures the feel of the album very well in this case. The mid section has a great riff that reminds me, both in production and song writing, of Mastodon’s last two albums. The song then slows down and we get to hear Ashmedi’s brilliant vocals build to a deafening crescendo. Cue blast beats as we are brought down into some chanting before going back into the original riff. A slightly strange choice of opener given its medium pace, but utterly riveting none the less.
’Ladders to Sumeria’
'Ladders' has the honour of owning, in every sense of the word, the best riff on the album. Full of the deathly promise and heavier than heaven, this hooks you in and doesn’t let you go. Although the structure is relatively simple, the humming bird drumming and catchy lyrics make sure this track will be a contender for ‘track most likely to fill metal dance floors’ up and down the underworld.
’Deluge of Delusional Dreams’
Frenetic riffing collides with some punk-inspired drumming as this song explodes into life. What is so great about this band is how effortlessly they change gears into something completely different like chanting or blast beats. The mid section again uses the trademark shuffle before stopping dead. We are then thrust back in with harmonic minor scale inspired slab of guitar which slows down into a tribal death groove.
’Touching The Spheres Of Sepheroth’
’Touching’ will be remembered for its drumming which is intense, providing a pure shot of adrenaline. Xul’s pulverising stick work saves some of the tracks from being a little bit samey and ’Touching’ leans in this direction. There is nothing particularly wrong with it but as far as the other elements are concerned there is nothing new in this song. However, I think there is enough for the audience to remain interested.
’Gyroscope’
One of the things I noticed on this song is the lack of bite in the rhythm guitars. As a result, the song lacks the punch it could have had which is a shame. The song sort of fits the overall theme but it sounds like the musical equivalent of a make-over. I don’t think this cover adds anything to the album and should have been omitted.
’Double Helixed Sceptre’
There are some interesting time changes here that jar the ear on the first listen but persevere and you will be pleasantly surprised. My favourite part of this song has to be after the introduction where there are slow, low, tom beats over which Ashmedi chants. The ‘less is more’ approach shows a maturity in their song writing as the band know that the contrast in textures is enough to keep the audience interested. Not underestimating your audience is essential in modern extreme metal.
’The Scribes Of Kur’
A beautiful, menacing, controlled build up is the key to this song. ’Scribes’ lays bare some of the near eastern influences of the band through the unusual instrumentation and harmonic minor scale referencing. It also serves as a well timed lull to the heaviness, in the same way that Nile lace the albums with lighter interludes.
’Leper Jerusalem’
Wow, this is unexpected. An intro riff that sounds part-grunge, part modern, punk-influenced Darkthrone. All is restored later though as we move back into the familiar territory of the Melechesh shuffle. I really like this track, perhaps because it contrasts with the others as a short and punchy statement.
’Sand Grain Universe’
I thought this was going to be a lot more languid given the cosmic title. I was wrong. It has some of the most ferocious drumming on the album. Structurally though, the first four minutes of the song are boring but it does redeem itself by delivering an excellent vocal performance near the end.
'Emissaries And The Mysterium Magnum'
The last listed track is a melting pot that seems to build to a boiling point by adding a dash of time change here, a pinch of vocals there. A key change heralds something different and we are treated to some deliciously dark choral harmonies, foregrounded by Ashmedi’s feral grunt. Soaring guitars see us out, as if shutting some great tome. One is left hoping that that there will be a sequel as thrilling as this, and soon.
If was going to be pedantic I would say that some parts are repetitive and the vocals are a little too low in the mix for my liking. However, these comments are neither here not there, given the wealth of positives taken from this effort.
’Emissaries’ is not as complex as, say, an Opeth record. But what is evident here is the originality that bursts from the seems. Melechesh have done the impossible and reverse engineered their cultural history to perform alchemy on an album that is both cutting edge and memorable.
8.5/10
UM’s Review Rating Scale
Official Melechesh Website
Official Osmose Productions Website
